Two Rooms is very pleased to present a specially selected exhibition of work by James Ross that investigates his practice over the last 30 years and introduces his current constructions.
The title is a direct homage to Piet Mondrian and also proclaims Colin McCahon’s notable 1961 painting, Here I give thanks to Mondrian. Ross’ research into both artists has been a productive and constructive springboard bringing about the utilization of the diamond shaped stretcher into his work. Ross posits that the use of a distorted diamond or trapezoid introduces a spatial or perspectival element into the standard static picture plane and this enables his paintings to be seen as a series of discrete parts that together make a whole. The installation of these ‘parts’ is crucial to the exhibition and the artist makes use of the architecture of the space in a novel manner, identifying the corner as a neglected area of prime spatial interest and rectifying it by making it a significant focal point.
Two Rooms is very pleased to present a specially selected exhibition of work by James Ross that investigates his practice over the last 30 years and introduces his current constructions.
The title is a direct homage to Piet Mondrian and also proclaims Colin McCahon’s notable 1961 painting, Here I give thanks to Mondrian. Ross’ research into both artists has been a productive and constructive springboard bringing about the utilization of the diamond shaped stretcher into his work. Ross posits that the use of a distorted diamond or trapezoid introduces a spatial or perspectival element into the standard static picture plane and this enables his paintings to be seen as a series of discrete parts that together make a whole. The installation of these ‘parts’ is crucial to the exhibition and the artist makes use of the architecture of the space in a novel manner, identifying the corner as a neglected area of prime spatial interest and rectifying it by making it a significant focal point.
